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Understanding Merleau-Ponty, Understanding Modernism brings into dialogue Maurice Merleau-Ponty's phenomenology with modernist art, literature, music, film and neurophysiological discoveries, opening up the complexities of the philosopher's phenomenology of perception to a broader audience across the arts. An important resource for anyone interested in the links between modernism and philosophy, Understanding Merleau-Ponty, Understanding Modernism offers close readings of Merleau-Ponty's key texts, explores modernist works in light of his thought, and provides an extended glossary of Merleau-Ponty's central terms and concepts.
Understanding Merleau-Ponty, Understanding Modernism brings into dialogue Maurice Merleau-Ponty's phenomenology with modernist art, literature, music, film and neurophysiological discoveries, opening up the complexities of the philosopher's phenomenology of perception to a broader audience across the arts. An important resource for anyone interested in the links between modernism and philosophy, Understanding Merleau-Ponty, Understanding Modernism offers close readings of Merleau-Ponty's key texts, explores modernist works in light of his thought, and provides an extended glossary of Merleau-Ponty's central terms and concepts.
Author : Robert B. Pippin Publisher : University of Chicago Press Page : 178 pages File Size : 13,58 MB Release : 2013-12-23 Category : Art ISBN : 022607952X
In his Berlin lectures on fine art, Hegel argued that art involves a unique form of aesthetic intelligibility—the expression of a distinct collective self-understanding that develops through historical time. Hegel’s approach to art has been influential in a number of different contexts, but in a twist of historical irony Hegel would die just before the most radical artistic revolution in history: modernism. In After the Beautiful, Robert B. Pippin, looking at modernist paintings by artists such as Édouard Manet and Paul Cézanne through Hegel’s lens, does what Hegel never had the chance to do. While Hegel could never engage modernist painting, he did have an understanding of modernity, and in it, art—he famously asserted—was “a thing of the past,” no longer an important vehicle of self-understanding and no longer an indispensable expression of human meaning. Pippin offers a sophisticated exploration of Hegel’s position and its implications. He also shows that had Hegel known how the social institutions of his day would ultimately fail to achieve his own version of genuine equality, a mutuality of recognition, he would have had to explore a different, new role for art in modernity. After laying this groundwork, Pippin goes on to illuminate the dimensions of Hegel’s aesthetic approach in the path-breaking works of Manet, the “grandfather of modernism,” drawing on art historians T. J. Clark and Michael Fried to do so. He concludes with a look at Cézanne, the “father of modernism,” this time as his works illuminate the relationship between Hegel and the philosopher who would challenge Hegel’s account of both modernity and art—Martin Heidegger. Elegantly inter-weaving philosophy and art history, After the Beautiful is a stunning reassessment of the modernist project. It gets at the core of the significance of modernism itself and what it means in general for art to have a history. Ultimately, it is a testament, via Hegel, to the distinctive philosophical achievements of modernist art in the unsettled, tumultuous era we have inherited.
Maurice Merleau-Ponty (1908-1961) is one of the central figures of 20th-century Continental philosophy, and his work has been hugely influential in a wide range of fields. His writings engage in the study of perception, language, politics, aesthetics, history and ontology, and represent a rich and complex network of exciting ideas. The Merleau-Ponty Dictionary provides the reader and student of Merleau-Ponty with all the tools necessary to engage with this key thinker: a comprehensive A to Z that provides summaries of all his major texts and articles, clear and straightforward explanations of his terminology and innovative concepts, and detailed discussions of the figures and philosophies that influenced his work. The book also includes a philosophical introduction, a chronology of Merleau-Ponty's life and works, and suggestions for further reading. This dictionary is the ideal reading and research companion for students at all levels.
Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings of works by Paul Cézanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience.
Michel Foucault continues to be regarded as one of the most essential thinkers of the twentieth century. A brilliantly evocative writer and conceptual creator, his influence is clearly discernible today across nearly every discipline-philosophy and history, certainly, as well as literary and critical theory, religious and social studies, and the arts. This volume exploits Foucault's insistent blurring of the self-imposed limits formed by the disciplines, with each author in this volume discovering in Foucault's work a model useful for challenging not only these divisions but developing a more fundamental interrogation of modernism. Foucault himself saw the calling into question of modernism to be the permanent task of his life's work, thereby opening a path for rethinking the social. Understanding Foucault, Understanding Modernism shows, on the one hand, that literature and the arts play a fundamental structural role in Foucault's works, while, on the other hand, it shifts to the foreground what it presumes to be motivating Foucault: the interrogation of the problem of modernism. To that end, even his most explicitly historical or strictly epistemological and methodological enquiries directly engage the problem of modernism through the works of writers and artists from de Sade, Mallarmé, Baudelaire to Artaud, Manet, Borges, Roussel, and Bataille. This volume, therefore, adopts a transdisciplinary approach, as a way to establish connections between Foucault's thought and the aesthetic problems that emerge out of those specific literary and artistic works, methods, and styles designated “modern.” The aim of this volume is to provide a resource for students and scholars not only in the fields of literature and philosophy, but as well those interested in the intersections of art and intellectual history, religious studies, and critical theory.
Having studied philosophy at a time when its traditions were being seriously uprooted by the atrocities of World War II, Theodor Adorno had an enormous impact on thinking about aesthetics at a transitional historical moment when the philosophy of science and leftist politics were looking for new ground. Moreover, with his focus on the rise of commercial culture and its effects on identity-construction, Adorno can be said to have reinvigorated modernist concerns by introducing the prevailing terms in our contemporary versions of cultural politics and cultural studies. Understanding Adorno, Understanding Modernism traces Adorno's social and aesthetic ideas as they appear and reappear in his corpus. As per other volumes in the series, this book is divided into three parts. The first, “Adorno's Keywords,” is organized by the aesthetic terms around which Adorno's philosophy circulates. The second section is devoted to “Adorno and Aesthetics.” While Adorno's philosophical viewpoints influenced modernism's evolution into the 21st century, the history of modernist aesthetics also shaped his philosophical approaches. The third and final part, “Adorno's Constellations,” discusses how aesthetic form in Adorno's thinking underlies the terms of his social analysis.
A concentrated study of the relationships between modernism and transformative left utopianism, this volume provides an introduction to Marx and Marxism for modernists, and an introduction to modernism for Marxists. Its guiding hypothesis is that Marx's writing absorbed the lessons of artistic and cultural modernity as much as his legacy concretely shaped modernism across multiple media.
Slavoj Žižek is one of today's leading theorists, whose polemical works span topics from German idealism to Lacanian psychoanalysis, from Shakespeare to Beckett, and from Hitchcock to Lynch. Critical through and through of both post-modern ideological complacencies-e.g., the death of the subject and the return to ethics-and pre-modern ones-e.g., the re-enchantment of the world, the embrace of postcritique-Žižek doubles down on the virtues of the modern, on what it means to be modern, and to ask modern questions (about the subject, nature, and political economy) in the age of the Anthropocene. This volume takes up the challenges laid out by Žižek's iconoclastic thinking and its reverberations in an array of fields: philosophy, psychoanalysis, political theory, literary studies, and film studies, among others. Žižek's multi-disciplinary appeal attests to the provocation, if not scandal, of his politically incorrect thought. Understanding Žižek, Understanding Modernism makes the force and inventiveness of Žižek's writings accessible to a wide range of students and scholars invested in the open question of modernism and its legacies.
Understanding Barthes, Understanding Modernism is a general assessment of the modern literary and philosophical contributions of Roland Barthes. The first part of the volume focuses on work published prior to Barthes's death in 1980 covering the major periods of his development from Writing Degree Zero (1953) to Camera Lucida: Reflections on Photography (1980). The second part focuses both on the posthumously published material and the legacies of his work after his death in 1980. This later work has attracted attention, for example, in conjunction with notions of the neutral, gay writing, and critiques of everyday life. The third part is devoted to some of the critical vocabulary of Barthes in both the work he published during his lifetime, and that which was published posthumously.